jueves, 2 de septiembre de 2021

Many more, a lot more y Much more. Usos en inglés

Many more, a lot more y Much more. Usos en inglés

Gramática Inglesa - English Grammar - Recursos Educativos en inglés

En inglés decimos "much more" para decir "mucho más". También podemos decir "a lot more". Ambas expresiones son correctas.

Sin embargo, a veces diremos "many more" en lugar de "Much more". El significado es el mismo, pero "many more" se utiliza cuando se habla de un sustantivo contable, mientras que "much more" se utiliza con un sustantivo incontable.

Para explicarlo rápidamente, los incontables son sustantivos que no se pueden contar (como el agua, por ejemplo), mientras que los contables son sustantivos que se pueden contar (como las manzanas, por ejemplo). Te invito a que leas las diferencias entre much y many. Y también Nombres contables e incontables en inglés.

Por ejemplo:

There is much more coffe.
There are many more bananas.

Por otro lado, "a lot more" puede utilizarse tanto para sustantivos contables como incontables.

There is a lot more coffe.
There are a lot more bananas.

Very much

Probablemente conozca la expresión "thank you very much". Así que ya sabes que podemos decir "very much" para decir "mucho". Pero si queremos decir "mucho más", entonces será diferente. Como hemos visto anteriormente, tenemos que decir "much more" o "a lot more" para decir "mucho más".

Recuerda

Recuerda que el error que hay que evitar al decir "mucho más" es decir "very more". Así No se dice en inglés.

  • Much more - mucho más (incontable).
  • Many more - mucho más (contable).
  • A lot more - mucho más (contable e incontable).
  • Very much - Mucho

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Who, which y that - Pronombres Relativos en inglés

Pronombres Relativos en inglés

Gramática Inglesa - English Grammar - Recursos Educativos en inglés

Pronombres relativos en inglés: who, which y that explicados de forma sencilla

Los pronombres relativos en inglés pueden parecer complicados, ya que hay muchos casos y excepciones. Sin embargo, cuando se sabe cómo aplicarlos, su uso se vuelve muy natural.

A continuación, vamos a ver los casos más frecuentes, para que puedas utilizarlos rápidamente.

Los pronombres que veremos aquí son who, which y that. 

Por supuesto, hay otros, pero son menos comunes. Si nos centramos primero en estos tres pronombres principales, verás que los entenderás fácilmente.

Al final de este artículo, sabrás cuándo utilizarlos y sabrás cómo elegir entre estos diferentes pronombres relativos.

¿Qué es un pronombre relativo y cuál es su función?

Simplemente, un pronombre relativo se utiliza para conectar. Une dos frases o dos elementos de una frase.

Por ejemplo, si digo:

Cómete la ensalada. La ensalada está en la nevera. Podría conectar estas dos frases diciendo:

Come la ensalada que está en la nevera. - Eat the salad WHICH is in the fridge.

This is the bag THAT you gave me. Esta es el bolso que me regalaste.

La dificultad está en saber cuándo hay que utilizar who, which y that. 

  • WHO: cuando se refiere a una persona.
  • WHICH: cuando se trata de una cosa.
  • THAT: cuando se trata de una persona o una cosa.

En comparación con WHICH, THAT se utiliza más en el lenguaje hablado. Es un poco menos formal. (En algunos casos no se puede utilizar that).

Ejemplos:

The woman WHO arrived is the teacher. La mujer que llegó es la maestra.
Aquí, la mujer es una persona. Por lo tanto, debe utilizarse WHO.

The book THAT I read yesterday is very interesting. El libro que leí ayer es muy interesante. El libro es una cosa (no una persona). Por lo tanto, es preferible utilizar THAT o WHICH.

Recuerda:

Se puede usar simplemente WHO para una persona, WHICH para una cosa, y THAT en el lenguaje hablado. Si recuerdas esto, podrás elegir y utilizar estos tres pronombres relativos en la mayoría de los casos.

Omisión del pronombre relativo en inglés

A veces, como habrás notado, se puede omitir el pronombre relativo. En estos casos, está implícito.
Podemos omitir el pronombre relativo sólo cuando es un complemento de la frase. Si no sabes lo que es un complemento, recuerda esto: en la mayoría de los casos, cuando WHO, WHICH o THAT va seguido de un "sujeto" como I, you, he, Anna, they, someone, etc., entonces puede estar implícito. En el lenguaje hablado, es muy frecuente que esté implícito.

¿Cuándo no se utiliza THAT?

Cuando la parte de la oración introducida por el pronombre es una cláusula no restrictiva, no puede ser sustituida por THAT. Una cláusula no restrictiva es una parte de la frase que no es esencial para la comprensión. Suele ir rodeado de comas. Por ejemplo, si digo: Ana, who lent me her books, is a nice girl. (Ana, que me ha prestado sus libros, es una buena chica). En este caso, podríamos haber eliminado la parte de la frase "que me prestó sus libros". Habría sido: Ana es una buena chica. Esto es perfectamente comprensible.

 Se trata de una cláusula denominada no restrictiva. En este tipo de propuestas, el WHO no suele ser sustituido por el THAT.

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miércoles, 1 de septiembre de 2021

The Oval Portrait - Edgar Allan Poe

The Oval Portrait

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés de miedo, suspense, halloween

The Oval Portrait - Edgar Allan Poe - Horror

The chateau into which my valet had ventured to make forcible entrance, rather than permit me, in my desperately wounded condition, to pass a night in the open air, was one of those piles of commingled gloom and grandeur which have so long frowned among the Appennines, not less in fact than in the fancy of Mrs. Radcliffe. To all appearance it had been temporarily and very lately abandoned. We established ourselves in one of the smallest and least sumptuously furnished apartments. It lay in a remote turret of the building. Its decorations were rich, yet tattered and antique. Its walls were hung with tapestry and bedecked with manifold and multiform armorial trophies, together with an unusually great number of very spirited modern paintings in frames of rich golden arabesque. In these paintings, which depended from the walls not only in their main surfaces, but in very many nooks which the bizarre architecture of the chateau rendered necessary- in these paintings my incipient delirium, perhaps, had caused me to take deep interest; so that I bade Pedro to close the heavy shutters of the room- since it was already night- to light the tongues of a tall candelabrum which stood by the head of my bed- and to throw open far and wide the fringed curtains of black velvet which enveloped the bed itself. I wished all this done that I might resign myself, if not to sleep, at least alternately to the contemplation of these pictures, and the perusal of a small volume which had been found upon the pillow, and which purported to criticise and describe them.

Long - long I read - and devoutly, devotedly I gazed. Rapidly and gloriously the hours flew by and the deep midnight came. The position of the candelabrum displeased me, and outreaching my hand with difficulty, rather than disturb my slumbering valet, I placed it so as to throw its rays more fully upon the book.

But the action produced an effect altogether unanticipated. The rays of the numerous candles (for there were many) now fell within a niche of the room which had hitherto been thrown into deep shade by one of the bed-posts. I thus saw in vivid light a picture all unnoticed before. It was the portrait of a young girl just ripening into womanhood. I glanced at the painting hurriedly, and then closed my eyes. Why I did this was not at first apparent even to my own perception. But while my lids remained thus shut, I ran over in my mind my reason for so shutting them. It was an impulsive movement to gain time for thought- to make sure that my vision had not deceived me- to calm and subdue my fancy for a more sober and more certain gaze. In a very few moments I again looked fixedly at the painting.
That I now saw aright I could not and would not doubt; for the first flashing of the candles upon that canvas had seemed to dissipate the dreamy stupor which was stealing over my senses, and to startle me at once into waking life.

The portrait, I have already said, was that of a young girl. It was a mere head and shoulders, done in what is technically termed a vignette manner; much in the style of the favorite heads of Sully. The arms, the bosom, and even the ends of the radiant hair melted imperceptibly into the vague yet deep shadow which formed the back-ground of the whole. The frame was oval, richly gilded and filigreed in Moresque. As a thing of art nothing could be more admirable than the painting itself. But it could have been neither the execution of the work, nor the immortal beauty of the countenance, which had so suddenly and so vehemently moved me. Least of all, could it have been that my fancy, shaken from its half slumber, had mistaken the head for that of a living person. I saw at once that the peculiarities of the design, of the vignetting, and of the frame, must have instantly dispelled such idea- must have prevented even its momentary entertainment. Thinking earnestly upon these points, I remained, for an hour perhaps, half sitting, half reclining, with my vision riveted upon the portrait. At length, satisfied with the true secret of its effect, I fell back within the bed. I had found the spell of the picture in an absolute life-likeliness of expression, which, at first startling, finally confounded, subdued, and appalled me. With deep and reverent awe I replaced the candelabrum in its former position. The cause of my deep agitation being thus shut from view, I sought eagerly the volume which discussed the paintings and their histories. Turning to the number which designated the oval portrait, I there read the vague and quaint words which follow:

"She was a maiden of rarest beauty, and not more lovely than full of glee. And evil was the hour when she saw, and loved, and wedded the painter. He, passionate, studious, austere, and having already a bride in his Art; she a maiden of rarest beauty, and not more lovely than full of glee; all light and smiles, and frolicsome as the young fawn; loving and cherishing all things; hating only the Art which was her rival; dreading only the pallet and brushes and other untoward instruments which deprived her of the countenance of her lover. It was thus a terrible thing for this lady to hear the painter speak of his desire to pourtray even his young bride. But she was humble and obedient, and sat meekly for many weeks in the dark, high turret-chamber where the light dripped upon the pale canvas only from overhead. But he, the painter, took glory in his work, which went on from hour to hour, and from day to day. And be was a passionate, and wild, and moody man, who became lost in reveries; so that he would not see that the light which fell so ghastly in that lone turret withered the health and the spirits of his bride, who pined visibly to all but him. Yet she smiled on and still on, uncomplainingly, because she saw that the painter (who had high renown) took a fervid and burning pleasure in his task, and wrought day and night to depict her who so loved him, yet who grew daily more dispirited and weak. And in sooth some who beheld the portrait spoke of its resemblance in low words, as of a mighty marvel, and a proof not less of the power of the painter than of his deep love for her whom he depicted so surpassingly well. But at length, as the labor drew nearer to its conclusion, there were admitted none into the turret; for the painter had grown wild with the ardor of his work, and turned his eyes from canvas merely, even to regard the countenance of his wife. And he would not see that the tints which he spread upon the canvas were drawn from the cheeks of her who sate beside him. And when many weeks bad passed, and but little remained to do, save one brush upon the mouth and one tint upon the eye, the spirit of the lady again flickered up as the flame within the socket of the lamp. And then the brush was given, and then the tint was placed; and, for one moment, the painter stood entranced before the work which he had wrought; but in the next, while he yet gazed, he grew tremulous and very pallid, and aghast, and crying with a loud voice, 'This is indeed Life itself!' turned suddenly to regard his beloved:- She was dead!

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A Diagnosis of Death - Ambrose Bierce

A Diagnosis of Death

Recursos Educativos en Inglés - Stories in English

Cuentos clásicos en inglés de miedo, suspense, halloween

A Diagnosis of Death - Ambrose Bierce - Horror

'I am not so superstitious as some of your physicians - men of science, as you are pleased to be called,' said Hawver, replying to an accusation that had not been made. 'Some of you - only a few, I confess - believe in the immortality of the soul, and in apparitions which you have not the honesty to call ghosts. I go no further than a conviction that the living are sometimes seen where they are not, but have been - where they have lived so long, perhaps so intensely, as to have left their impress on everything about them. I know, indeed, that one's environment may be so affected by one's personality as to yield, long afterward, an image of one's self to the eyes of another. Doubtless the impressing personality has to be the right kind of personality as the perceiving eyes have to be the right kind of eyes - mine, for example.'

'Yes, the right kind of eyes, conveying sensations to the wrong kind of brains,' said Dr. Frayley, smiling.

'Thank you; one likes to have an expectation gratified; that is about the reply that I supposed you would have the civility to make.'

'Pardon me. But you say that you know. That is a good deal to say, don't you think? Perhaps you will not mind the trouble of saying how you learned.'

'You will call it an hallucination,' Hawver said, 'but that does not matter.' And he told the story.

'Last summer I went, as you know, to pass the hot weather term in the town of Meridian. The relative at whose house I had intended to stay was ill, so I sought other quarters. After some difficulty I succeeded in renting a vacant dwelling that had been occupied by an eccentric doctor of the name of Mannering, who had gone away years before, no one knew where, not even his agent. He had built the house himself and had lived in it with an old servant for about ten years. His practice, never very extensive, had after a few years been given up entirely. Not only so, but he had withdrawn himself almost altogether from social life and become a recluse. I was told by the village doctor, about the only person with whom he held any relations, that during his retirement he had devoted himself to a single line of study, the result of which he had expounded in a book that did not commend itself to the approval of his professional brethren, who, indeed, considered him not entirely sane. I have not seen the book and cannot now recall the title of it, but I am told that it expounded a rather startling theory. He held that it was possible in the case of many a person in good health to forecast his death with precision, several months in advance of the event. The limit, I think, was eighteen months. There were local tales of his having exerted his powers of prognosis, or perhaps you would say diagnosis; and it was said that in every instance the person whose friends he had warned had died suddenly at the appointed time, and from no assignable cause. All this, however, has nothing to do with what I have to tell; I thought it might amuse a physician.
'The house was furnished, just as he had lived in it. It was a rather gloomy dwelling for one who was neither a recluse nor a student, and I think it gave something of its character to me - perhaps some of its former occupant's character; for always I felt in it a certain melancholy that was not in my natural disposition, nor, I think, due to loneliness. I had no servants that slept in the house, but I have always been, as you know, rather fond of my own society, being much addicted to reading, though little to study. Whatever was the cause, the effect was dejection and a sense of impending evil; this was especially so in Dr. Mannering's study, although that room was the lightest and most airy in the house. The doctor's life-size portrait in oil hung in that room, and seemed completely to dominate it. There was nothing unusual in the picture; the man was evidently rather good looking, about fifty years old, with iron-grey hair, a smooth-shaven face and dark, serious eyes. Something in the picture always drew and held my attention. The man's appearance became familiar to me, and rather "haunted" me.

'One evening I was passing through this room to my bedroom, with a lamp - there is no gas in Meridian. I stopped as usual before the portrait, which seemed in the lamplight to have a new expression, not easily named, but distinctly uncanny. It interested but did not disturb me. I moved the lamp from one side to the other and observed the effects of the altered light. While so engaged I felt an impulse to turn round. As I did so I saw a man moving across the room directly toward me! As soon as he came near enough for the lamplight to illuminate the face I saw that it was Dr. Mannering himself; it was as if the portrait were walking!

'"I beg your pardon," I said, somewhat coldly, "but if you knocked I did not hear."

'He passed me, within an arm's length, lifted his right forefinger, as in warning, and without a word went on out of the room, though I observed his exit no more than I had observed his entrance.
'Of course, I need not tell you that this was what you will call a hallucination and I call an apparition. That room had only two doors, of which one was locked; the other led into a bedroom, from which there was no exit. My feeling on realizing this is not an important part of the incident.

'Doubtless this seems to you a very commonplace "ghost story" - one constructed on the regular lines laid down by the old masters of the art. If that were so I should not have related it, even if it were true. The man was not dead; I met him to-day in Union Street. He passed me in a crowd.'

Hawver had finished his story and both men were silent. Dr. Frayley absently drummed on the table with his fingers.

'Did he say anything to-day?' he asked - 'anything from which you inferred that he was not dead?'

Hawver stared and did not reply.

'Perhaps,' continued Frayley,' he made a sign, a gesture - lifted a finger, as in warning. It's a trick he had - a habit when saying something serious - announcing the result of a diagnosis, for example.'

'Yes, he did - just as his apparition had done. But, good God! did you ever know him?'

Hawver was apparently growing nervous.

'I knew him. I have read his book, as will every physician some day. It is one of the most striking and important of the century's contributions to medical science. Yes, I knew him; I attended him in an illness three years ago. He died.'

Hawver sprang from his chair, manifestly disturbed. He strode forward and back across the room; then approached his friend, and in a voice not altogether steady, said: 'Doctor, have you anything to say to me - as a physician? '
'No, Hawver; you are the healthiest man I ever knew. As a friend I advise you to go to your room. You play the violin like an angel. Play it; play something light and lively. Get this cursed bad business off your mind.'

The next day Hawver was found dead in his room, the violin at his neck, the bow upon the string, his music open before him at Chopin's Funeral March.

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martes, 31 de agosto de 2021

01 Colegio, Material escolar Flashcards - Wordcards School

01 school colegio

01. Vocabulary

Recursos Educativos en Inglés - Tarjetas Relámpago

Flashcards - Wordcards

Colegio, Material escolar - School

02 school colegio

02. Vocabulary

03 school colegio

03. Vocabulary

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02 Colegio, Material escolar Flashcards - Wordcards School

04 school colegio

01. Vocabulary

Recursos Educativos en Inglés - Tarjetas Relámpago

Flashcards - Wordcards

Colegio, Material escolar - School

05 school colegio

02. Vocabulary

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Worksheets School 01 - Fichas el Colegio en Inglés

01 school colegio

Recursos Educativos en inglés - Worksheets School

Fichas Infantiles en Inglés el colegio

01. Trace.

Ficha en Inglés, para aprender el colegio, Ideal para facilitar el aprendizaje de este idioma, adquirir vocabulario, practicar la pronunciación, etc. Especialmente en Educación Infantil y Primaria.

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